No one really has the power, and everybody's trying to get through the day, and everybody's nervous and desperate.

When I was growing up in Baltimore, the Colts were not just a team that played in the city. It was part of the city. Football players didn't make close to the money they make today and most took jobs in the off-season. Some were mechanics, others worked at furniture stores, and you could find them drinking at a neighborhood watering hole.

I'm fascinated by documentaries, to begin with. Because of the nature of television, as opposed to theatrical, documentaries can be in this long form and take you on a journey.

Everybody's trying to hold onto some shred of dignity in the process of it all, and, at the same time, never talking about how they don't have the power. No one has the power. So, you know, producers - we always think, "Well, producers are very powerful," but producers don't really have the power.

When I began to think about the head of the family, the storyteller, the rise of television which became the new storyteller, the break-up of the American family as an idea and then Avalon came.

A lot of time mistakes are very interesting - you look for the behaviour that's not the one you expect.

Rain Man certainly didn't test really well. If you look at it carefully, you have a disease autism they didn't understand back then, they didn't know in the test audience whether it's okay to laugh or not laugh, because it's a film that's done in a way where, "Well, maybe I'm not supposed to laugh." At the end of the film, Dustin Hoffman gets on the train and doesn't even acknowledge his brother. Not even a glance, nothing. That's why the studio said, "Can't you just have him look at Tom Cruise at the end of the film?"